At this play's start, one man complains to his younger brother that he should dress more for fashion than for comfort, claiming that his clothes reinforce his ugly behavior, about which Lisette asks him "Are we Turks?" In its second act, aided by the valet Ergaste, the main lovers communicate by sending unopened letters to each other, and later, the female lover puts on a veil, pretending to be her sister so as to fool its protagonist when the notary arrives to perform a marriage. Ariste's (*) leniency toward his ward and eventual wife Leonor provides the positive exam
At this play's start, one man complains to his younger brother that he should dress more for fashion than for comfort, claiming that his clothes reinforce his ugly behavior, about which Lisette asks him "Are we Turks?" In its second act, aided by the valet Ergaste, the main lovers communicate by sending unopened letters to each other, and later, the female lover puts on a veil, pretending to be her sister so as to fool its protagonist when the notary arrives to perform a marriage. Ariste's (*) leniency toward his ward and eventual wife Leonor provides the positive example for this work's title institution, while Isabelle's ability to marry Valere by manipulating Ariste's overly-controlling brother Sganarelle provides a negative one. Followed by a similarly-titled comedy about Agnes's evasion of her guardian Arnolphe, name, for 10 points, this Moliere comedy intended to educate male spouses.
At this play's start, one man complains to his younger brother that he should dress more for fashion than for comfort, claiming that his clothes reinforce his ugly behavior, about which Lisette asks him "Are we Turks?"
The {School} for {Husbands} [or {L'Ecole des maris}]